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Working With Bernstein: A Memoir. Jack Gottlieb.  New York: Amadeus Press, 2010.  ISBN 978-1-5746-7186-5

Reviewed by Barry Seldes Working with Bernstein

In 1958, Leonard Bernstein, recently appointed music director of the New York Philharmonic, hired as his assistant Jack Gottlieb, a composer with a Ph.D dissertation on Bernstein’s music.  Gottlieb’s job description seemed indeterminate: from vetter of compositions sent to Bernstein for potential performance to general “gopher.” In this latter capacity, Gottlieb traveled the globe with the peripatetic maestro, seeing to Bernstein’s toiletries, packing his bags, managing transportation, and otherwise working hard but, in Bernstein’s company, having a thoroughly good time.  Apparently Gottlieb performed splendidly, and, save for four years when he took a position teaching composition, he remained at Bernstein’s side until Bernstein’s death in 1990. No doubt, the friendship that ensued was cemented by shared Jewish faith and Gottlieb’s extraordinary competence in understanding Bernstein’s music. Indeed, Bernstein would come to entrust Gottlieb with writing the program notes and commentaries to accompany the published scores, recordings and performances of Bernstein’s own music. Now Gottlieb, some twenty years after Bernstein’s death, has written this work, Part I of which is a memoir of his experiences with Bernstein, and Part II of which contains his collected program notes and commentaries. Read the rest of this entry »

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Judaism Musical and Unmusical. Michael P. Steinberg. Chicago: University of Chicago Press, 2007. 270 pp. ISBN 978-0-2267-7195-3

Reviewed by Tina Frühauf

In Judaism Musical and Unmusical, Michael P. Steinberg takes the reader on a journey through predominantly but not exclusively Central European Jewish history and culture in the nineteenth and twentieth centuries, at times privileging music as a focal point of cultural discourse. The eight essays in this volume, most of which have been published before, are loosely connected musings about the different facets of modernity and Judentum, and involve the concepts of memory, secularity, and aesthetics, among others. In each chapter Steinberg weaves different threads together, from art to psychoanalysis, from architecture to music. Steinberg’s book, which in a larger sense is a discourse about identity and Judaism, begins with an essay on Edward Said and his propositions of Jewish identity, and follows with individual case studies of known intellectuals and their work. Steinberg traces the subject of Judaism in Sigmund Freud’s late classic Moses and Monotheism and in the writings of Henry James, Eduard Fuchs, and Walter Benjamin; and he explores the intellectualism of Italian Jewish historian Arnaldo Momigliano. Further chapters center on the artist Charlotte Salomon and her Life? or Theater? and Leonard Bernstein in Vienna. The journey ends in Berlin with a critique of its Jewish Museum and an assessment of some recent scholarship on German Jewish subjects, which cannot compensate for the absence of a full bibliography at the end of the book.

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